Showing posts with label impact. Show all posts
Showing posts with label impact. Show all posts

Tuesday, September 25, 2018

Arthur Ashe: Thoughts on a remarkable life


This year marked the 50th anniversary of the U.S. Open tennis tournament in New York City. In celebrating its history, the U.S. Open also celebrated the legacy of Arthur Ashe with a special photo exhibit on the grounds of the Billie Jean King National Tennis Center, a new logo for Arthur Ashe Stadium, and a virtual reality experience that transported viewers to 1968 for a front row seat at Ashe’s triumph in winning the first U.S. Open men’s singles championship over Tom Okker.

When Ashe won, he made history as the first African-American man to win the U.S. Open. In 1975, he became the first black man to win Wimbledon, beating Jimmy Connors. Over time, we would remember Ashe – the Jackie Robinson of men’s tennis – not only as a champion of his sport, but also he became a civil rights and human rights champion. By the time this pioneering athlete died at age 49, he had become much larger than tennis.

Acclaimed civil rights historian Raymond Arsenault is the author of a new, relavatory biography, Arthur Ashe: A Life, which is a close look at his life that presents much evidence to suggest that he was not only a great player, he was an extraordinary human being.

I had the opportunity to meet Mr. Arsenault, the John Hope Franklin Professor of Southern History at the University of South Florida, on opening day of this year’s U.S. Open, during a book signing at the U.S. Open Bookstore by Court 13. I was most interested to learn firsthand from the author what inspired him to write such an extensive – and insightful – biography that was nine years in the making, included 26 chapters bookended by a prologue and epilogue, and featured more than 150 interviews. After all, there were many sides to Ashe: he was a human rights activist, a philanthropist, a broadcaster, a writer, a businessman and a celebrity.

Arthur, whom Arsenault referred to Ashe on a first-name basis throughout the biography, was also an exemplary role model – not perfect, but “he came remarkably close to living up to his professed ideals.”

Arthur Ashe was born in Richmond, Virginia, in 1943. By age 11, Ashe became one of the state’s most talented black tennis players. In spite of this barrier, in 1960, Ashe won the National Junior Indoor singles title, which led to a tennis scholarship at UCLA.

In 1963, Ashe became the first African-American to play for the U.S. Davis Cup team, and two years later he won the NCAA singles championship. In 1968, he won titles in both the U.S. Amateur and the first U.S. Open, and climbed to a No. 1 national ranking. After he turned professional in 1969, Ashe went on to capture two more Grand Slams, winning the Australian Open in 1970 and Wimbledon in 1975. He retired in 1980, then served four years as the U.S. Davis Cup team captain and was inducted into the International Tennis Hall of Fame in 1985.

It’s been 50 years since Ashe’s victory at the first U.S. Open and 25 years since his death. He would have turned 75 this past July had he lived. Thankfully, his legacy has never left us, and as I learned from my brief chat with the author, it’s a great time to revisit and dig deeper into Ashe’s life story – his joy of the game – from public courts prodigy to consummate professional to Grand Slam champion to civil rights and human rights activist.

Arthur Ashe
In a recent NPR interview, Arsenault called 1968 as a defining moment for Ashe – not just because he won the U.S. Open. “Sixty-eight really begins his life as the Arthur Ashe that we know,” said Arsenault. “He did great things before 1968, was one of the greatest players in the world already. But as a human being, as someone who transcended sports, it began in ‘68.”

A thinking man’s player, Ashe was shy and generally reticent into his mid-twenties. He showed a parallel behavior on and off the court – polite and respectful – both in victory and defeat. “Then,” said Arsenault, “he took a sharp turn toward activism in 1968 and never looked back.”

The year 1968, was filled with trauma and turbulence in America. There were the spring assassinations of Martin Luther King Jr. and Robert F. Kennedy, the escalating tensions of the Vietnamese War could be seen on college campuses across the country, the Black Power movement was taking off and, soon, there would be police brutality in the streets outside the Democratic National Convention in Chicago.

Soon, Ashe became an activist off the tennis court – the premier public intellectual among American athletes of his time – speaking out about the responsibility black athletes, especially, had to their communities. After all, by the early ‘70s, he had become the world’s best-known black tennis players – and with his growing stature, he realized a responsibility to use his platform to help other black people.

“As the first black man to reach the upper echelon of a notoriously elitist and racially segregated sport,” Arsenault notes, “Ashe exhibited an extraordinary strength of character that eventually made him the most beloved and honored figure in tennis.”

Arsenault writes of Ashe, “He had both the opportunity and responsibility to use his talent and position for a higher purpose than fame or personal gain.”

According to Arsenault, Ashe was never an agitator. “He was very unemotional in his advocacy and his activism,” he said. “He was absolutely determined to have an impact on the broader world.”

As an athlete and an activist, Ashe’s passion off the tennis court was becoming outspoken about civil rights. He focused his attention on fighting apartheid in South Africa.

Ashe was never a threatening presence on or off the tennis court. Instead, as Arsenault described in his NPR interview, Ashe found other means for being seen and heard. “His personality was cool, a little removed. Very Obama-esque,” he said, comparing Ashe to former U.S. President Barack Obama. Ashe was loyal to a fault.

Author Raymond Arsenault signing
my copy of Arthur Ashe: A Life.
From 1979 on, Ashe default with a serious heart condition, and underwent multiple surgeries and blood transfusions, one of which left him HIV-positive. In 1988, following the completion of a three-volume history of African-American athletes, Ashe was diagnosed with AIDS, a terminal condition that he revealed four years later.

“Withdrawal was never an option for a man who had long identified with civic and social responsibility,” Arsenault writes. “Ashe followed his conscience even when it meant putting his comfort – or even his life – at risk.”

In 1993, after devoting the last 10 months of his life to AIDS activism, the valiant and courageous Ashe died of AIDS at the age of 49. He showed us that life is a journey – not a destination.

Looking back at Ashe’s remarkable life, Arsenault writes, “Never complacent, he had a restless spirit and an ever-searching intellect. Ironically enough, all of this philosophical and experiential turmoil was expressed in a reasoned, deliberate style that became his personal trademark.””

Ashe was so calm and poised on the outside yet so driven and turbulent on the inside.

“Arthur Ashe suffered many defeats, including a cruel and untimely death,” Arsenault writes. “Yet he was undefeated in the realms that mattered most – heart, soul, integrity, and character. In this important sense, there is no shadow to darken his legacy. What remains is the radiance of a good and great man w hose inner light shines outward for all to see.”

Photo of Raymond Arsenault by Michael Dickens © 2018.

Tuesday, February 14, 2017

Nike: Equality has no boundaries

LeBron James during the filming of Nike's "Equality" commercial. /
"We can be equals everywhere."

On Sunday evening during the nationally televised Grammy Awards program, Nike debuted a short film about #EQUALITY. It's message was clear: Equality has no boundaries.

This extraordinary 90-second spot, filmed in black in white, was directed by Melina Matsoukas who has two Grammy Awards for her work on Beyoncé's "Formation" and Rihanna's "We Found Love." It features NBA great LeBron James and co-stars American athletes Serena Williams, Kevin Durant, Megan Rapinoe, Gabby Douglas, Victor Cruz, and Dalilah Muhammad.

"Equality" has already received more than 4 million views on YouTube.




The central theme of "Equality," which also features actor Michael B. Jordan in a cameo as well as narrating the script, and singer Alicia Keys covering Sam Cooke's "A Change Is Gonna Come," is this: "The Equality and fairness prevalent in major professional sports should transcend into broader society."

As part of Nike's Black History Month campaign, their initiative aims to "inspire people to take action in their communities."

The voice over in the film (Jordan) says "if we can be equals here," referring to a basketball court, then James says "we can be equals everywhere."

Writing in ESPN's "The Undefeated" sports, race and culture website, writer Clinton Yates said: "Using a street art metaphor to make a point about in-your-face activism is not only effective, but for many who'll likely see this ad, perhaps familiar."

It made an impact with me; I hope it makes an impact with you.

#EQUALITY
Is this the land history promised?
Here within these lines.
On this concrete court. 
This patch of turf.
Here, you're defined by your actions, not your looks or beliefs.
Equality should have no boundaries.
The bonds we find here should run past these lines.
Opportunity should not discriminate.
The ball should bounce the same for everyone.
Worth should outshine color.
If we can be equals here, we can be equals everywhere.

A postscript: Nike has released a behind-the-scenes look at "Equality," which is worth a good look. It showed what equality means to each of the athletes involved. Said Rapinoe: "Being a woman in sport, first of all, equality is not always something that we're privy to. And being a gay woman in this country, in sport, wherever I am in the conversation, it's there. It's my responsibility of making sure that I speak up about it, and speak up for other people. Hopefully, it can grow that movement in that way."

Adds James: "At the end of the day, we're always just trying to find a way that we can all feel equal, we can all be equal, have the same rights, have the same feelings, being able to be in the same place no matter the color."




• Nike, which plans to air the "Equality" film during next Sunday's NBA All-Star Game, is currently promoting "Equality" t-shirts on its website. According to Adweek, Nike will donate $5 million during this calendar year to "numerous organizations that advance equality in communities across the U.S., including Mentor and PeacePlayers."


Tuesday, January 12, 2016

Kendrick Lamar: Mirroring the energy of his music

Kendrick Lamar is a 28-year-old poet and lyrical genius whose body language during a performance mirrors the energy of his music.

Lamar's raps incorporate elements of funk, spoken-word poetry, and jazz. He prefers to label his music simply as "human music." His sense of freedom and willingness to explore many music genres, such as jazz fusion, sparked and inspired the late David Bowie as the musical icon worked on his final album 'Blackstar.'

Lamar's new "Untitled 2," which he recently debuted on NBC's The Tonight Show, explores a backstory of his life and his view of America.




"Music moves with the times. It's not something we have to consciously do," Lamar revealed in an interview earlier this month in The New York Times. "This is what's happening in the world -- not only to me but to my community. Whenever I make music, it reflects where I'm at mentally."

Lamar's critically-acclaimed concept album To Pimp a Butterfly (which was ranked by Rolling Stone as the best album of 2015) has been nominated 11 times in nine Grammy categories, including Song ("Alright") and Album of the Year (for the second time). According to Nielsen, it has sold more than 750,000 copies and been streamed 375 million times -- all without a hit single. However, it should be noted that "Alright," which garnered four Grammy nominations, has become a unifying soundtrack to the Black Lives Matter protests nationwide.

On being chosen as the best album of 2015, Rolling Stone wrote: "Musically, lyrically and emotionally, Kendrick Lamar's third album is a one-of-a-kind masterpiece -- a sprawling epic that's both the  year's most bumptious party music and its most gripping therapy session. A rap superstar at last, after years on the underground grind, Lamar wrestles with the depression and survivor's guilt that followed his fame and success by turning to heroes from Ralph Ellison and Richard Pryor to Smokey Robinson and Kris Kross to Nelson Mandela and Tupac. He lives large. He contains multitudes."

Kendrick Lamar / His 'To Pimp a Butterfly' is
part bumptious party music, part gripping therapy session.
"Being acknowledged for your work is always a great accomplishment," said Lamar, "whether it's people in my city, kids in the street, all the way up to the Grammys." The Compton, California native, born Kendrick Lamar Duckworth, and also known as K-Dot, added: "This album did what I wanted it to do. That's not necessarily to sell tons of records -- though it didn't do bad at that either -- but to actually have an impact on the people and on the culture of music."

I'll admit, I'm not a big follower of rap or of Lamar's career. However, as a devoted viewer of late-night television, I took notice when Stephen Colbert anointed Lamar to be his first musical guest when he took over as host of CBS's The Late Show from David Letterman last September, and I tuned in with great interest to see him perform. From that appearance to last week's performance on The Tonight Show, it's easy to see why critics make a point of saying "make sure you're watching and not just listening" to Lamar's raps because of the way the movement of his body relates to the energy of his message. His raw voice and self-interrogative style have its pleasure and rewards.

Kendrick Lamar / "Make sure you're watching and not
just listening." His raw voice and self-interrogative style
have its pleasure and rewards.
As I watched and listened, I warmed to Lamar's personal style of simple braided hair and attire that included non-baggy jeans, white kicks and a plaid long-sleeved shirt over a dark t-shirt that said "Faith Love." He was unconsumed by expensive chains and did not fit the mold of most hip hop artists.

As Lamar performed "Untitled 2," one could see a building intensity that one critic the next day called "absolutely mesmerizing."

To see the lyrics to "Untitled 2": http://genius.com/Kendrick-lamar-untitled-2-blue-faces-lyrics

Another critic, writing for Slate.com, wrote: "Lamar's emotion builds throughout the song and reaches its triumphant peak at the end, as Lamar repeats, 'You ain't gotta tell me that I'm the one,' and finishes with 'Yes, I'm the one'."

To learn more about Kendrick Lamar: https://en.wikipedia.org/wiki/Kendrick_Lamar

Video: Courtesy of YouTube. Photos: Courtesy of Google Images.

Tuesday, June 18, 2013

At eye level in Iraq: An invitation to learn more about sorrow and hope


Sadr over Prayer, Thawra, Baghdad, Iraq, April 18, 2003.
Photograph © Thorne Anderson.

Sadr City, Baghdad, Iraq, July 22, 2004.
Photograph © Kael Alford.

Eye Level in Iraq: Photographs by Kael Alford and Thorne Anderson, an exhibition which presented the photographs of two American-trained photojournalists who documented the deep impact and aftermath of the U.S.-led coalition invasion of Iraq in 2003, concluded a four-month engagement at the de Young Fine Arts Museum in San Francisco last weekend.

I viewed this incredibly compelling and moving exhibition Friday evening, which drew upon 62 digital inkjet prints that were representative of the work Alford and Anderson produced over a two-year period -- often under duress. (They were loaned to the de Young by the High Museum of Art in Atlanta.)

In an interview earlier this year with the PBS NewsHour, Julian Cox, the chief curator at the San Francisco Art Museums, told of how he was spellbound by the photos which he first saw in 2006. "I felt vehemently they needed to be seen by a large audience.

"Those kinds of pictures are not typically seen in major art museums. There are one or two institutions across the country that do show these kinds of pictures, but you don't usually see them in art museum context ... The pictures are incredibly moving."

For most freelance photographers who are working in a war zone, getting good action photos and selling them to newspapers and magazines around the world -- as well as merely staying alive -- comprise their daily to-do list. That's what Thorne and Anderson did 10 years ago when they went to Iraq as freelance journalists and covered the beginnings of America's war in trying to rid Iraq of weapons of mass destruction and of Iraqi leader Saddam Hussein.

Maintaining objectivity was paramount and, indeed, they were hardworking photographers. By not being embedded with the U.S. military, it enabled Alford and Anderson, who are now married and teaching at a university in Texas, the opportunity to cover Iraq itself -- to photograph objects of interest -- and to portray the daily life and realities of a people as they were living with war going on all around them. And, although there are no photographs shot in a combat zone, the bravery and commitment shown by Alford and Anderson was evident throughout this haunting exhibit.

"From the beginning I sensed that Americans' view of the war was obscured," said Anderson in his artist's statement. "Perfectly descriptive words like 'invasion' and 'occupation' were sidestepped in our national press. Prisoners, we were instructed, must be called 'detainees.' These taboos felt like veils, and I wanted to tear them away."

According to Anderson, he tried to abandon his preconceptions of war and asked Iraqis to guide him through their experiences of the war. "I went as deep as I could, even behind 'enemy' lines. It wasn't easy. I tried to remain open and nonjudgmental, and I never felt so patriotic as when I was doing this work."

In the years following the events which comprise Eye Level in Iraq, new political leaders have emerged in Iraq. Yet, even today's headlines coming out of Baghdad in which two coordinated suicide bombers targeted a Shiite mosque, killing 29 people and wounding 55 others, are just the latest in a string of attacks to hit Iraq. While violence has surged as well as political tensions, it revives the fear that Iraq could be headed for a return to widespread sectarian bloodshed.

"Violence has breached nearly every household and Iraq's cities have been divided by fear along sectarian lines," according to Alford, in her artist's statement. "Educated professionals have been targeted and millions of people have fled. Today Iraq is widely regarded as one of the most corrupt and dangerous places in the world."

Alford returned to Iraq in 2011 and found the people in her photographs "plagued by insecurity, a deeply iniquitous judicial system, failing public infrastructure, and a wariness of foreign intervention.

"I found men and women haunted by loss and disappointment and young people, as always, pressing toward the future."

Searching for solace in Iraq, Alford found it in the depth of the country's history and its rivers. "The Euphrates River flows south past Babel, the mythical birthplace of languages, where it joins the Tigris River. Together they cradle the legendary site of the Garden of Eden. Although I am one more on a long list of invaders, I am invited by families to sit beside these rivers. We share meals and sweet flutes of tea and trade stories of sorrow and hope."

To learn more about the Eye Level in Iraq exhibition:

http://deyoung.famsf.org/deyoung/exhibitions/eye-level-iraq-photographs-kael-alford-and-thorne-anderson

To watch the PBS NewsHour story "Remembering the Faces of the Iraq War Through the Eyes of Photojournalists":

http://www.pbs.org/newshour/bb/entertainment/jan-june13/iraqphotos_03-21.html

Tuesday, February 5, 2013

Form + function + green technology = meeting the aesthetic and environmental needs of a city


"Seismic Wave" / Waiting for the Muni
Metro N Judah train at the corner
of Carl and Cole in San Francisco. 

The city of San Francisco has enjoyed a history of environmental sustainability and it prides itself on being a city of inclusion, too.

Reflecting these values are the colorful and artistic "Seismic Wave" Muni transit shelters that have sprouted up all around the City since the first one debuted on Geary and Arguello Boulevards in 2009. By the end of this year, there will be about 1,000 transit shelters that are making use of innovative solar technology and design.

In the words of former San Francisco Mayor Gavin Newsom, who oversaw the ribbon-cutting ceremony of the first of the new transit shelters nearly four years ago, they "will make getting around this beautiful city easier and greener."

On a recent visit to the City, I rode the Muni Metro train from Embarcadero Station to Golden Gate Park to see the Rudolf Nureyev exhibit at the de Young Fine Arts Museum. During my nearly half-hour ride, I noticed several of these aesthetically-pleasing transit shelters dotting the N Judah route.

On my return trip downtown, I encountered one of the hip, "seismic wave" shelters up close at the corner of Carl and Cole Streets, across from the Crepes on Cole cafe where I had stopped for lunch, in the heart of the City's Cole Valley neighborhood.

I didn't mind that my wait for the next N Judah train would be eight minutes because it gave me time to study and admire the "Seismic Wave's" design and function.

A poster inside one of the shelter's display panels caught my attention: "Form and function combine with green technology to create a compelling, iconic structure designed to meet the aesthetic and environmental needs of a City at the forefront of new age technology."

The San Francisco Municipal Transportation Agency (SFMTA) touts its new "Seismic Wave" transit shelters as "the most sustainable shelter under the sun."

It's easy to see how and why.

Among the shelter's many "green" features" according to the SFMTA are:

  • Solar-powered photovoltaic cells can generate up to 100 watts of electricity -- enough to power high efficiency fluorescent backlit information panels, super efficient rooftop lighting and NextBus and Push to Talk technologies.
  • Up to 40 percent of all energy captured can be recycled back into the power grid.
  • Wave-shaped plastic canopy composed of 40 percent post-industrial recycled content.
  • Galvanized steel beams created with 60 to 70 percent reclaimed product.

Other features include: ergonomically-designed seats for up to six customers and steel support columns that can vary in length to accommodate San Francisco's hilly terrain.

In a 2009 interview with sf.streetsblog.org., project designer designer Olle Lundberg said it's been fun leaving his signature on the city. Lundberg Design, a local architect, was selected in a competition to design the civic project.

"We've done some really beautiful buildings in the city, but honestly nothing will have the same impact as (1000) of these will," said Lundberg. "These are going to be everywhere and are going to be this kind of icon. I do hope that they become part of the street vocabulary of San Francisco."

Indeed, form + function + green technology = meeting the aesthetic and environmental needs of a city -- the City.

"Seismic Wave" photograph by Michael Dickens, copyright 2013. All rights reserved.